...and was blown away. This is now one of my top 10.
This film, to me, is pure cinematic perfection. Stunning, understated camera work, beautiful, subtle lighting, photographic crispness, a complete lack of Hollywood moralizing (except, maybe, the character of the landlady), an equal attention to what's NOT said or done, as opposed to making everything so bloody obvious, and, of course, the story.
The ending seems to have been subsequently used after for other films like "Nights of Cabiria" (and the subsequent "Sweet Charity") in its ambiguity and lack of closure.
The scenes at the dog kennel are so incredibly moving without trying to "tug at your heartstrings." and the scene with the train and the dog's immediate unforgiving nature really strike a chord. This film remedies for me what I find so troubling about Chaplin efforts like "City Lights" and "Limelight." There's something so false about the Chaplin characterizations and they seem designed to force "aahhh"s from the audience. This is the real McCoy and the relationships seem so unstrained and real.
I especially loved the friendship between the servant girl and the old man. Again, no moralizing. Each seems stuck in their own set of circumstances and help each other as much as they can and no more, though its obvious that they respect each other enough to understand that, without saying it, they each have lives to lead. We all have our own problems.
I was most struck at how subtle the camera seems to float, pan and track without being obtrusive or obvious. The scene that's shot through the hole in the adjacent room to his and the slow track seems symbolic of so much of the film. Every single element serves the story and the characters.
FYI - according to something I read, the dog's name is "Flick" (pronounced "Flyke").
Sigh.
Sometimes a dog is enough.
This film, to me, is pure cinematic perfection. Stunning, understated camera work, beautiful, subtle lighting, photographic crispness, a complete lack of Hollywood moralizing (except, maybe, the character of the landlady), an equal attention to what's NOT said or done, as opposed to making everything so bloody obvious, and, of course, the story.
The ending seems to have been subsequently used after for other films like "Nights of Cabiria" (and the subsequent "Sweet Charity") in its ambiguity and lack of closure.
The scenes at the dog kennel are so incredibly moving without trying to "tug at your heartstrings." and the scene with the train and the dog's immediate unforgiving nature really strike a chord. This film remedies for me what I find so troubling about Chaplin efforts like "City Lights" and "Limelight." There's something so false about the Chaplin characterizations and they seem designed to force "aahhh"s from the audience. This is the real McCoy and the relationships seem so unstrained and real.
I especially loved the friendship between the servant girl and the old man. Again, no moralizing. Each seems stuck in their own set of circumstances and help each other as much as they can and no more, though its obvious that they respect each other enough to understand that, without saying it, they each have lives to lead. We all have our own problems.
I was most struck at how subtle the camera seems to float, pan and track without being obtrusive or obvious. The scene that's shot through the hole in the adjacent room to his and the slow track seems symbolic of so much of the film. Every single element serves the story and the characters.
FYI - according to something I read, the dog's name is "Flick" (pronounced "Flyke").
Sigh.
Sometimes a dog is enough.